Arbuzov tanya analysis of the play. Tanya

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Alexey Nikolaevich Arbuzov
Tanya. cruel games
Plays

chance for happiness

When contemporaries speak or write about Alexei Arbuzov, three amazing qualities of his personality and his work are always noted in one word or another.

Firstly, this is a rare ability to always remain a young soul, which manifested itself in everything: from freshness, immediacy of perception of life, when, according to I. Vasilinina, “rain is not an annoying hindrance, but one of the wonders of nature”, to the ability to dress in fashion; from a persistent interest in young people and help to young fellow writers to the ability to be modern in the best sense, that is, open to all the problems that fast-running time poses in a given period, capable of capturing the spirit of the era, imbued with it and conveying it in the work.

Secondly, it is his organic theatricality, a deep attachment to the theater that has been going on since his youthful years, the subtlest knowledge of its laws, thanks to which Arbuzov's plays are always staged: they "ask to be on the stage." Some theatricality was characteristic of the playwright in life. Having been an actor in his youth, he, as I. Vishnevskaya writes, “has forever retained his inner artistry, the desire for acting, for reincarnation. Even things play next to Arbuzov: they turn from things for everyday use into a colorful theatrical scenery. His younger contemporary playwright V. Slavkin also spoke about the same property of Arbuzov's character: “He played in life. All the time. And if there was no situation, he created a game situation around him.

Our studio was also his game ... He gathered around him people who were completely different from him ... Because he understood that the beauty of life is in diversity.

Finally, thirdly, they write about Arbuzov as a bright and benevolent person who knew how to sincerely rejoice at someone else's success, and they invariably note the humanity, warmth of his works, in which even negative characters are warmed by the author's understanding and forgiveness.

The life and career of Alexei Nikolaevich Arbuzov (1908-1986) was long and full of events. He was born in Moscow, but in early childhood he moved with his family to St. Petersburg, where his family's life was very unfavorable: his father's departure from the family, his mother's mental illness. Here he was caught by the events of the October Revolution, which he recalled much later: “The strongest impression was the capture of the Winter Palace in October 1917, which I observed as a boy. This event affected my fate and the fate of my family. A new life has begun. I was left to myself ”(Theater. 1986. No. 2). At the age of eleven, he was left alone, wandered and even ended up in a colony for the difficult to educate. The guardianship of his aunt changed little in his life, but the theater played a saving and decisive role. “Having been brought up by my aunt,” Arbuzov wrote in his autobiography, “I wanted to go wandering again, but one autumn evening of the 20th year prevented everything - I ended up at the Bolshoi Drama Theater, where Schiller’s Robbers were given ... Returning home after the performance, I I understood that now there is no life outside the theater. I came up with a new ending for The Robbers, I dreamed of my future, and it was - theater, theater, theater ... For four years, the gallery of the fourth tier was my home, my family - everything significant happened here.

Arbuzov took the next step towards the stage by becoming an actor in a traveling theater troupe. He will devote several years to acting in this and other groups and will keep his love for this profession for life, will dedicate his best plays to his favorite artists. At the end of the 1920s, Arbuzov tried his hand at directing - he worked in the "living newspapers" of Leningrad, and led a brigade of an agitation train. In an effort to make the speeches of his propaganda team as topical as possible, Arbuzov began to compose skits and numbers, to make various montages. In November 1930, his first play “Class” appeared, written in a poster style, characteristic of the young dramaturgy of those years and reflecting the class maximalism of the people who won the revolutionary battles and their labor enthusiasm. It is interesting that it was precisely such an ideologically and politically pointed play (it was appreciated and staged by professional theaters) that the writer entered the dramaturgy, who would later be blamed for “excessive intimacy” and advised “to boldly go out into the big world of the life of a Soviet person.” In fact, the playwright Arbuzov never lost his social activity, but serious social problems in his works were solved through the private, personal, and family. The continuity of the early and mature works of the playwright is also evidenced by the fact that it is in this first play that the Chorus appears, accompanying the action and commenting on the actions of the characters. 1
chorus- in ancient Greek dramaturgy, an obligatory collective (from 12 to 24 people) participant in the performance (ancient Greek drama originated from ritual choral songs). The text of the drama was based on the alternation of speech and choral parts. The choir was intended to express the viewer's attitude to the events of the play, to serve as the "voice of the people." With increasing interest in individual heroes, the role of the Chorus is reduced. Attempts to renew this tradition in the dramaturgy of modern times (F. Schiller, P. Shelley) were not successful.

This “ancient” element, unusual at first glance for Soviet dramaturgy, introduced publicism and solemnity into the text. In search of his own creative style, Arbuzov repeatedly uses the Choir, including in one of his best plays, Irkutsk History.

In the early 1930s, Arbuzov moved to Moscow, where he became a volunteer at a theater school, and soon headed the literary department of the Proletkult Theater of Small Forms. Together with the troupe of this theater, he travels to construction sites, mines, writes interludes, forms the current repertoire. True, the big play about the miners of Donbass (“Heart”), conceived at that time, the material for which the writer collected while living and working at the mine, was never written.

In Arbuzov's first dramatic experiments, neither Arbuzov's themes nor Arbuzov's style are yet heard. A departure from the schematism and straightforward sociologism of the agitation theater, a turn to the psychological drama was outlined in two lyrical comedies of these years: “Six Beloved” (1934) - from collective farm life - and “The Long Road” (1935) - about the builders of the Moscow Metro, their difficult characters and relationships, romantic love.

In these plays, the author's close attention to the personal life of the characters, the formation of the character of a young contemporary, which will become decisive in Arbuzov's dramaturgy, is already noticeable. Interest in private life did not exclude heroism, but with Arbuzov it was the heroism of everyday life, natural and almost imperceptible. “My hero is sweet and dear to me, who becomes positive as a result of the trials that fall to his lot,” wrote Arbuzov. The play "Six Beloved", published in the magazine "Kolkhozny Theatre", was staged in 1934-1935 by many professional theaters. “So, quite by accident,” Arbuzov wrote, “I became a repertoire playwright.”

It was the best of his early plays, Tanya (1938), a chamber drama about love and happiness, that made Arbuzov truly famous. The young heroine is completely dissolved in her love, but finds the strength to give it up after learning about her husband's feelings for another woman. She finds herself in the profession, gains life experience and appears in the second part of the play as a mature person, an adult, open to new feelings. In the play, the main theme of Arbuzov's dramaturgy sounded convincingly and talentedly - the theme of a person finding himself. The play went around almost all the theaters of the country and caused a wave of heated discussions. She received the most striking stage embodiment at the Theater of the Revolution (now the V. V. Mayakovsky Theater) in 1939, staged by A. Lobanov, where the main role was played by Maria Babanova. The actress was characterized by a keen sense of modernity, lyricism, emotionality, depth of character comprehension. The play ran 1,000 times with great success.

In the 1930s, a number of significant meetings for Arbuzov took place, which largely determined his creative destiny. In 1934, he talked with M. Gorky as part of a group of young playwrights, often attended rehearsals of the innovative director V. Meyerhold, which became a school of theatrical art for him. No less important was the rapprochement between Arbuzov and the Moscow creative youth (E. Garin, A. Gladkov, I. Shtok, V. Pluchek, etc.), which led in 1938 to the creation of the Moscow State Theater Studio, popularly called "Arbuzovskaya" . It was he, always looking for new forms and preoccupied, despite his fame and solid literary reputation, with the absence of his own, creatively close theater group, who became the soul of this studio. Together with him, it was headed by the writer A. Gladkov and a student of Meyerhold, theater director V. Pluchek. From this moment begins the period that Arbuzov called the best years of his life. The task of the studio was to create truly modern performances, in which the image of a contemporary would find a true and deep reflection, an appeal to his generation, a story about himself.

The Arbuzovskaya studio anticipated a very close phenomenon in the mid-50s - the creation of the Sovremennik Theater in Moscow 2
Sovremennik was organized in Moscow in 1956. The core of the troupe was the pupils of the School-Studio. V. I. Nemirovich-Danchenko; chief director - O. Efremov (currently G. Volchek). The theater opened with a performance based on the play by V. Rozov "Forever Alive". The theater sought to denounce the negative phenomena of society, raised the issues of educating the younger generation. The repertoire was dominated by plays by contemporary playwrights.

The leaders of the new team decide to experiment: by improvisation, with the involvement of all the studio members, to create a play about the first builders of Komsomolsk-on-Amur. Characters were born from actors' applications, then sketches were played, and on this basis a text was written, in which the actors themselves became the authors in many respects. “Gorky’s idea, set out in letters to K. S. Stanislavsky (1911), about the close cooperation between the actor and the playwright, as a result of which a play born by the team could emerge, was our inspiration, our support,” Arbuzov wrote. As a result, in 1940, the play The City at Dawn appeared, which was of great importance for a whole generation and for the playwright himself. The play recreates the lyrical-heroic atmosphere of youth construction, it sounds the theme of hope, faith in the great future of the new city and the generation that built this city. But the main thing in the play is people, their characters and destinies. These characters change, sometimes revealing unexpected facets. Traditional everyday scenes and dialogues are interspersed in the play with interludes and comments by the Choir.

The premiere of the play, staged by Pluchek in the studio, took place on February 5, 1941 in a club on Malaya Karetnaya Street. This became the event of the season: the performance received numerous responses in the press, was discussed at debates at Moscow State University, MIFLI, and was played 43 times in four months.

The forties and the beginning of the 50s in the work of Arbuzov were not marked by serious successes. Plays "Immortal" (1942), "House in Cherkizovo" (1943, new edition - "House on the Outskirts", 1954; in the 70s, the performance based on the play at the Lenin Komsomol Theater was called "Faith, Hope, Love") - about factory girls working in the rear, "European Chronicle" (1953) - about the reasons for the spread of fascism in Europe and the growing resistance to it among the Western intelligentsia - these plays, as it were, accumulated material to create the image of the post-war generation.

The first success of the post-war decade was the play Years of Wanderings (1954, originally titled Vedernikov).

The action covers several years of the life of the heroes - from 1937 to 1945. A considerable time span is generally a characteristic feature of Arbuzov's drama, his characters wander through time in search of their path, their "I". And this time is always fixed in detail in the remarks, it is tangible and concrete: “The time of action is the night of October 10, 1934, between three and six o’clock” (“Six Beloved”), “November 14, 1934. Moscow. Winter twilight. Six soon ”(“ Tanya ”),“ June 20, 1932 ”(“ City at Dawn ”),“ The first part - May 1942, the second part - March - May 1946, the third part - December 1959. Leningrad” (“My poor Marat”), etc.

In addition to the length of the action in time and its precise fixation, the drama "Years of Wanderings" is given an epic character and titled, like parts of a story or a novel, pictures: "Youth", "Departure", "Return", etc. But all these dates and names not just a chronicle of events, but also symbolic stages of the inner evolution of the hero, who travels with his generation not only along the tourist paths and the roads of war, but primarily along the spiritual and moral paths.

Vedernikov, the protagonist of the play, is a complex and ambiguous figure. In his character, good and evil, baseness and nobility, talent and cynicism, individualism and charm are so intertwined that in a number of stage productions and critical articles the hero was treated as purely negative, which did not correspond to the author's intention. In a painful search for himself, his place in life, a kindred human soul, he makes cruel mistakes, hurts his loved ones. But his persistent desire to achieve everything himself, the intense inner work that goes on in him throughout the play, arouse understanding and sympathy. The play was vigorously discussed at the discussions, activated public opinion, drew attention to the problems of the individual. It was first staged in 1954 by the Theater. Lenin Komsomol, in the 70s she returned to the stages of the theaters of the country.

In 1959, after some creative lull, the play "Irkutsk History" appeared, the plot of which was born during the playwright's trip to the Irkutsk hydroelectric power station. The heroes of the play, the builders Victor and Sergey, are in love with the cashier Valka, a lively, frivolous girl with a bad reputation. One of them, not yet realizing his feelings, is disrespectful and even cynical in relations with her: the idea of marriage with "Valka-cheap" does not even occur to him. The second, having managed to unravel the pure and tender soul of the girl behind the external bravado, creates a strong family with her. The unexpectedness of the Arbuzov collision is that the heroine of the "love triangle" loves the first one, Victor, but she marries Sergei without sadness and regret, not listening to either her friends or the Chorus, urging her to change her mind. Sergey's respect, understanding and care save her from loneliness, restore her feminine dignity and bring real family happiness as a result. However, Sergei's life is tragically cut short: he dies trying to save teenagers drowning in the river. The team decides to pay Valya and her children the wages of her deceased husband, but Victor suddenly opposes this. He convinces Valya to go work on a walking excavator driven by Sergei. In the end, Valya thanks Victor, showing him her first paycheck. For what? She discovered another important life value: the dignity of the working man. One can only guess how the life of the heroes will develop further, but both of them went through a dramatic life school in the play and took place as individuals.

Arbuzov achieved in the "Irkutsk History" an organic combination of a love theme with the theme of labor ennobling a person. The semantic and genre multidimensionality of the play caused disputes about its true content, which have been going on since the moment of the first production and in which attempts were made, on the one hand, to present "The Irkutsk Story" as a predominantly love story, psychological, and on the other hand, to decisively remove the play from the category of love. drama, absolutizing its civil sound.

The author dedicated the play to the actress Yulia Borisova, who played the main role in the first production on the stage of the Theater. Evg. Vakhtangov in 1960. The performance, which interprets the play in a chamber-lyrical manner, has become an event in cultural life. Another well-known interpretation of the play, on the contrary, in the tradition of the heroic drama, was carried out at the Theater. V. V. Mayakovsky. The play was widely played on the stages of the country (in 1961 it was in the repertoire of 158 theaters), as well as abroad, and brought international recognition to the author. Vakhtangov's performance was shown during international festivals in Paris and Venice.

In the early 60s, Arbuzov wrote several plays (The Lost Son, 1961; They Are Waiting for Us Somewhere, 1963), in which his attraction to melodrama was most clearly manifested. The playwright will be repeatedly reproached for this addiction to the genre, which was associated by many with sentimentality, lightweight, unrealistic problem solving, although Arbuzov himself was attracted to melodrama by “gullibility”, “simplicity”, “increased passion”, dramatic sharpness of action, moralistic orientation. The melodramatic beginning is present in many plays by Arbuzov, who believed that theater requires strong emotions.

The best of the plays of the 60s - "My poor Marat" - bypassed many theaters of the country and the world. In 1967 it was named "play of the year" by London critics, and in 1976-1977 it ran in thirty English theaters. For the first time we meet the heroes of the play - the girl Lika, her neighbor Marat and Leonidik, who accidentally found shelter in the same ruined house - in besieged Leningrad in 1942. The second meeting takes place after the Victory, in 1946. Both boys return to the girl they love, and she has to make a choice. Finally, in 1959, another decisive meeting takes place, which makes the heroes realize their mistakes and try to start life anew. What is interesting in the play is not so much the author's appeal to the events of the recent past, to the military theme, as the intense internal action that permeates the text. Years test people, their characters and feelings for strength.

The hero, whose name is included in the title, continues a series of images of young people who are looking for, emerging in Arbuzov's plays (Tanya, Vedernikov, etc.). Marat is able to love - and voluntarily give up his love, tell stories in the spirit of Baron Munchausen - and show genuine courage in war. He has been building bridges for many years, restoring the country, and just as long he cannot throw a bridge to the only woman he loves. Marat is close to other characters of Arbuzov (Belous in the play "The City at Dawn", Sergei Seregin in "Irkutsk History"), endowed with strength of mind, self-confidence - informal leaders, to whom others, weaker ones, are drawn to in search of warmth and support . But even they, strong and independent, need warmth and suffer without it. Faced with a choice, Lika, who loves Marat, marries Leonidik, weak, helpless, who lost his arm in the war. Arbuzov replays the situation reflected in the Irkutsk Story, but now it is interpreted as a serious mistake of the heroes: Lika is unhappy, she realizes that she is losing herself next to an unloved person; Leonidik is corrupted by her care, masking dislike: he becomes irritable, capricious, their communication is reduced to reading aloud the evening newspaper; Marat, having made a voluntary sacrifice and immersed in work, feels the inferiority of his life.

But of all three, only Leonidik, vulnerable, who painfully experienced in childhood the departure from his father’s family and his mother’s second marriage, clearly realizes the falsity of these relations and decides to act: he calls Marat to Lika, and he himself leaves, as he once left their Leningrad Marat rooms. The finale of the play is optimistic, it gives hope that all its characters will finally find themselves.

The author of several dozen plays, Arbuzov was constantly looking for new material and new genre forms to express his thoughts about his contemporary. In the early period of his work, these were the chamber-lyrical “Tanya” and the monumental “City at Dawn”, in the 60s the playwright turned to the genre of melodrama (“Lost Son”), dialogues (“My poor Marat”), writes traditional drama with elements of confession about a son and a father who once left a family, who met in fascist dungeons (“Night Confession”, 1967), creates a parable about a bright and talented person, but who cuts off all living human - family, love, friendship - ties and elevates his selfishness and loneliness to the rank of life philosophy (“Happy Days of an Unhappy Man”, 1968). In the 70s, the vaudeville melodrama In This Nice Old House (1971), the story for the theater Evening Light (1974), the play Old Fashioned Comedy (1975), the dramatic scenes Cruel Intentions (1975) and other plays that further strengthened the authority of Arbuzov as an artist and as a person.

An adherent of the youth theme, who traced more than one fate and more than one character in his plays, Arbuzov created two plays about old people in the 70s. Both are about love. "Tales of the Old Arbat" - about the touching love of the old artist Balyasnikov in the young Viktosha. "Old-fashioned comedy" - about the doctor Rodion Nikolaevich and Lidia Vasilievna, a circus cashier, to whom love came in their declining years against their will, reason and desire. Both plays are written lightly, witty, with cascades of verbal squabbles; with great tact and at the same time with humor, they show a late feeling that unexpectedly illuminated the generally settled and habitually sad life of elderly heroes. But in both plays there is also an alarming, nervous subtext: the bitterness of age, the thirst for life, even with the consciousness of its almost complete exhaustion. The feeling that visited the heroes of these plays is wonderful, but at the same time dramatic: they have almost no time ahead.

Arbuzov was remarkable for his amazing love of life, insusceptibility to aging, constant and sincere interest in young people, the desire to understand (but not always accept) changing ideals and values.

The playwright M. Roshchin, who visited Arbuzov shortly before his death, forever remembered his eyes, "full of the deepest sadness." It was possible to read in them everything that this man paralyzed by the disease was no longer able to express: “a feeling of thirst for life, love, passion to live ... the ability to say“ thank God! that moment when you understand, but you never want to believe that everything is over ... "

In love with life, the playwright gives his heroes in their declining years the possibility of joy, happiness and peace. And it even increases this joy: for example, the unexpected appearance of the charming and sensitive Viktoshi in the Balyasnikovs' house not only fills the soul of the old artist with warmth and life, but also contributes to his rapprochement with his son, with whom they have only coexisted so far. Connecting the heroes of the "Old Fashioned Comedy", the playwright opens their hearts of love, interrupting the loneliness of a woman who has long been accustomed to live "loads on the trade union line ... very, in general, fun," and a man who was forgotten by his own daughter.

Both plays were repeatedly staged and aroused great interest abroad, especially in England. The 1976/77 season was called "Arbuzov's" there: three premieres ("Tales of the Old Arbat", "My Poor Marat" and "Evening Light") were on at the same time at the Old Vic Theater, and the Royal Shakespeare Theater for the first time accepted a Soviet play "Old Fashioned Comedy".

Arbuzov loves his heroes, one might say, all without exception, even the most unattractive, tough, stupid. He never loses faith in his hero, always gives him a chance for happiness in any situation, even the most unfavorable. Often, researchers of Arbuzov's work noted that he had no negative characters at all. There are bad people, as in life, but even they do not become strictly negative characters in his plays. At the same time, the playwright is not at all sweet and sentimental, despite his kind attitude towards melodrama, but rather wise and patient. “He knew too well,” notes M. Roshchin, “how rich the heterogeneous, multi-layered and underwater life of each person is ... and tried to say about it.” Arbuzov himself, responding to reproaches of excessive complacency, that he does not take off, looking at his heroes and life in general, rose-colored glasses, wrote: “As soon as I started him (the hero. - THEM.) understand, I forgave him his sins, and when forgiven, he ceased to be negative ”(Selected production: In 2 vols. T. 1. P. 9).

Arbuzov helped his young literary colleagues a lot: he noticed the talent of A. Volodin, supported the first steps in the dramaturgy of Y. Edlis, greatly appreciated the work of A. Vampilov, was very upset by his early death and did a lot to stage his plays. For 15 years he led the studio-workshop of young playwrights organized by him. It brought together talented young people, who now make up the dramatic avant-garde of the 80s and 90s (L. Petrushevskaya, V. Slavkin, M. Rozovsky, O. Kuchkina, A. Rodionova and others). The paradox was that these young writers did not become, in the usual sense, students of Arbuzov, did not continue the “Arbuzov school”. On the contrary, the playwright gathered around him people of a different generation, a different worldview, working in a different, much tougher style. Arbuzov did not seek to remake his students, to impose on them his theme and his own outlook on life. The famous theater and film actor M. Ulyanov, who played more than once in Arbuzov's plays, recalled the playwright: “His dramaturgy was never an exact piece of reality. It was more of a dream, a desire to see reality like this... When life became tougher, playwrights, especially young ones, also became tougher, began to put their hand deep into the wounds of life... and began, as it were, to cancel it (Arbuzova. – THEM.). At the same time, the most amazing thing is that he was friends with these young people, he was not afraid to turn his shoulder to them. It is a rare property when in art a person does not block anyone.

Arbuzov himself studied with young people, trying to figure out why she was so different from his peers and what they still had in common. The theme of fathers and children, alienation and finding each other, which is very important in his dramaturgy, grew up and turned in different facets. It sounds in many of his works, but perhaps most acutely in Cruel Intentions, a play largely inspired by conversations with studio members. Her young heroes - Kai, Nikita, Terenty, Nelya - feel deprived of parental attention, do not forgive the elders for mistakes and pay them the same coin: cruel rejection and indifference. The playwright anxiously warns both parents and children against these "cruel games", emphasizing the value of family ties, the feeling of "home".

Arbuzov also built his own “house”: his family, children, friends, students surrounded him until the last day. “He was absolutely courageous,” recalls one of his students O. Kuchkina. “People came to him often, but speech was already denied. But he continued to live tensely, wanted us to tell everything, wanted to participate in our life and did not give up until the last minute.

The two pieces included in the collection were not chosen by chance. Firstly, they represent different stages in the development of Arbuzov's work: "Tanya" is the best of his early plays, "Cruel Intentions" is one of the most striking recent ones. They give an idea of both the unchanging life and artistic values that the playwright carried through the years, and some changes in his style in his later works. Secondly, they contain themes that are very dear to the playwright: the formation of a young person's personality, the importance, even the priority of personal, family life, outside of which a person, even if he is a good professional and respected citizen, cannot achieve harmony; the theme of intergenerational relationships. Finally, thirdly, these are plays from a number of the most famous throughout the country and abroad, in the productions of which famous artists and directors took part.

The play "Tanya" is a vivid example of how the perception and interpretation of a work of art can change over time as changes occur in the public consciousness.

The play takes place in the 1930s. This is a time of general labor upsurge, high prestige of science and education, active development of male professions by women, their participation in public life. Most of the heroes of the play (German, Shamanova, Dusya, Ignatov, etc.) just keep up with the times: they participate in important scientific developments, introduce them into production, lead a team, or, like Dusya, prepare for all this on the student bench. And only Tanya, the wife of engineer Herman, looks like an eccentric against this background in her desire to devote herself entirely to family life, love for her husband. She leaves the institute, helps her husband make drawings and tries to create for him a warm, homely atmosphere full of little surprises. Her confession “to love means to forget oneself, to forget for the sake of a loved one” sounded to many as a strange anachronism. She bewilders the guests of Herman, who is embarrassed by Tanya, her remarks, ridiculous in this circle of business and prosaic people, like: “What one fool has lost, a hundred smart ones will not find” or “When dreams come true, it is always a little sad”, etc.

And Herman's passion, despite the age difference, for the "business woman" Shamanova is a passion for the heroine of the time, independent, strong, strong-willed. Many critics recognized her as the true heroine of the play, while Tanya was condemned for her supposedly limited and narrow spiritual world.

Here is a typical interpretation of the content of Arbuzov’s play in those years: “The play depicts the life path of a simple Soviet woman, her transformation from a housewife, living only for her husband, into a person who managed to find after many years of suffering ... her real place in life.” The play certainly provides grounds for such a reading. But if you believe the testimonies of those who saw the first productions of "Tanya", in particular the famous performance at the Revolution Theater with the participation of M. Babanova, the audience always sympathized with this "thoughtless, slightly eccentric and love-absorbed" central heroine of the play, and from the very beginning of the action. “And the point here is not at all,” writes I. Vasilinina, “that in the finale of the play she became a doctor, a decisive and energetic person of action. Somehow this was involuntarily forgotten. But more and more often I remembered how talentedly Tanya knew how to love ... there was never in her sense of selfishness, pride, calculation. How much warmth, affection, charm, joy, fiction she brought into the life of her little family.

The fact that the image of Tanya was the main one for Arbuzov was at first explained simply by the defect of the young playwright, who unduly shifted the semantic accents in the work. However, over time, these author's "flaws" sounded differently: behind them the importance of enduring spiritual values began to be felt, the bearer of which turned out to be the Arbuzov heroine. In the early 60s at the Theater. Lensoviet, a fundamentally new version of the performance was played, where A. Freindlikh played the main role. She played an original, bright personality, with an individual, poetic vision of life. And all this was also subtracted in Arbuzov's play: the open and at the same time hidden childishness of the heroine - and at the same time an amazing sensitivity towards her loved one, forcing her without a word of reproach to give way to a happy rival; not to cause Herman suffering with the news of the death of their child, the existence of which he never knew; her perception of snow as happiness, songs as childhood; Sokolnikov - like a terrible forest where you can get lost; crow, which she warmed, and then released into the wild, - like a fabulous Blue Bird, giving warmth to the family hearth. The originality of the heroine, embedded in the play and emphasized in the performance, changed the usual accents: now it seemed that it was not Tanya who was losing everything, but Herman.

Work plan: 1. Biography
Play analysis
List of sources used

Biography

Born on May 13 in Moscow in
educated, intelligent family.
The strongest child
the child's impression was the sea,
where the family went every year
rest. The beginning of the war of 1914 caught
Arbuzovs on the Riga seaside, and they
had to leave immediately. Arbuzovs
moved from Moscow to Petrograd,
where six-year-old Alyosha joins
to the theater, listens to opera, goes to
cinema. Studying in private
gymnasium (1916). Revolution of 1917
prevented him from getting
systematic education.

At the age of 9 he had to
encounter a
the collapse of the former
life (father leaves
family, and soon
mother dies of illness).
Heavy are coming
days: hunger, scurvy, typhus.
At the age of 11, he remains alone,
enters the colony
hard-to-educate.

His salvation was
theatre. In the Big
drama theater
the boy had a chance
see the play
"Robbers" Schiller,
which was shown for
red army soldiers
leaving for the front. So
introductory remarks
spoke. A. Blok.
The impression was
so strong that
this theater reviewed
all the performances, knew the whole
repertoire.

His life is a little
ordered: he
lives with his aunt
Savich. attend school
refused, never
got average
education.

At 16 Arbuzov
gets into
drama studio,
led by
P. Gaideburov,
brilliant actor and
director. autumn,
graduated from the studio
Arbuzov enters
Heideburov's troupe, but
soon leaves her.

Arbuzov accepts
participation in the organization
theater on wheels
(agitvagon),.
own
playwright theater
had therefore Arbuzov
took up the pen himself.
First play "Class"
was placed in
Leningrad, but did not have
success. After the failure
Arbuzov left for Moscow.

10.

The first play that was staged in
Moscow, Leningrad and other cities and
acclaimed by viewers and critics
was the comedy "Six Beloved" (1935). AT
In the same year, a new play "Tanya" was written.
"Tanya" was staged in 1939 by the Moscow
theater of the Revolution and was a resounding success.
It was staged in the 1960s and 70s by many
Soviet theatres.

11. "Tanya"

12. "Tanya"

Moscow Leninsky Komsomol Theater

13.

RAMT Scenes
from the play
"Tanya" 2003

14. Our reflections on the play "Tanya"

He and She, pre-war
years, it is difficult for them, He
ychitsya, she too. He
dreams of becoming cool
engineer, she for the sake of
he leaves
medical school to
make it easier for him to study and
fulfill his dreams.

15.

At first glance, the plot is banal: young
girl Tanya Ryabinina is in love with
designer Herman, wants to live only for
and dropped out of medical school.
But Herman falls in love with another. Having lost
husband, and then the long-awaited child, Tanya
finds the strength to start a new life.
Becomes a doctor, goes to work
to the Far East ... and there - there she
meets Herman and his new family...

16.

The play takes place in the 1930s. This is
time of general labor recovery, high
prestige of science and education, active
the development of male professions by women,
their participation in public life.
Most of the characters in the play (Herman,
Shamanova, Dusya, Ignatov and others) are just coming
in step with the times: participate in important
scientific developments, implement them in
production, lead a team or,
like Dusya, prepare for all this on
student bench.

17.

And only Tanya, wife
German engineer,
looks on this background
weirdo in his
striving all of myself
dedicate to family
life, love for her husband. Her
confession "to love -
means to forget yourself
forget for the beloved"
sounds strange
an anachronism at that
time.

18.

In Tanya - open and at the same time
hidden childishness - and at the same time
amazing sensitivity to
loved one, forcing her
give way without a word of reproach
happy rival; not cause
Herman suffering the news of death
their child, whose existence
he never knew; her perception of snow
like happiness, songs - like childhood;
Sokolnikov - like a terrible forest, where
you can get lost. originality
the heroine embedded in the play changed
habitual accents: it seems that not
Tanya loses everything, but Herman.

19. List of sources used

Internet resources:
http://en.wikipedia.org/wiki/
http://lib.rus.ec/a/57857
http://www.krugosvet.ru/enc/kultura_i_obrazo
vanie/literatura/ARBUZOV_ALEKSE_NIKO
LAEVICH.html

Arbuzov Alexey Nikolaevich

... So I was born and was at first a modest model of myself,

to be born again as a more perfect creation...

Michelangelo Buonarroti.

Drama in two parts, eight scenes

Characters

Shamanova Maria.

Ignatov Alexey Ivanovich.

Grishchenko Andrey Tarasovich.

Winter house owner.

Furmanov.

"Chapaev".

"Sailor".

Curvy boy.

Herman's guests, mining youth.

Part one

Picture one

November fourteenth, 1934.

Moscow. Winter twilight. Six soon. Herman's apartment. A cozy room in which everything speaks of happy love and friendship of two. Outside the window, thick snow is slowly falling, illuminated by street lights. On the threshold of Tanya, frozen, happy. She is in a white fur coat, covered in snow. Skis covered in snow. Dusya, a small, snub-nosed, serious girl of about eighteen, runs towards her.

Dusya. Well, you are always with skis in the room ...

Tanya. No German? I only look... (Takes off coat.) And what snow! I, as in childhood, lifted my head and swallowed it like ice cream ... And the mittens are wet, at least squeeze it out!

Dusya takes her fur coat.

Nobody came?

Dusya. From the neighbors they came by phone to call, their child is very sick.

Tanya. Got sick? (Wipes her eyelashes wet with snow.) Oh yes, you told me... Did you feed Semyon Semyonovich, Dusenka?

Dusya. He ate before you. (Points to a cage in which a small crow is swarming.) See how important. He sat down, and you can’t move him from his place. (Exits with coat and skis.)

Tanya turns on the radio. The sounds of a cheerful polka burst into the room.

Tanya(shouts). Lunch is ready?

Dusya(outside). Ready.

Tanya (circling the room in the rhythm of the polka).

Everything is ready... everything is ready...

Where is Herman, where is he?

Call.

Here is Herman, here is Herman,

Herman, dear, dear!

(Dancing, she climbs into the wardrobe, closing the doors behind her.)

Herman enters, in his hands is a bundle and a bottle of wine.

Hermann. Where is Tatyana?

Dusya looks at the closet and, waving her hand hopelessly, leaves. A growl can be heard in the closet.

(Turns around, turns off the radio, goes to the closet. Menacingly.) Ugliness! Who let the dog in here?! Yes, yes ... and, moreover, a mongrel, I can smell it.

Barking is heard from the closet. Herman closes the closet with a key. From there comes a mournful squeak.

Yeah. You are frightened, venerable dog. Are you asking for mercy?

Hermann. Are you sure you don't bite, dear dog?

Tanya(same way). I give you my word of honor.

Herman opens the closet. Tanya throws herself on his neck, he takes her in his arms and circles the room.

She kisses his eyes, forehead, temples. Both laugh.

Tanya. Here you are, here you are, on such a day I was late. (Quiet.) After all, tomorrow, you remember ...

Hermann. Yes... the fifteenth of November...

Tanya. Fifteenth ... A year ago on this day we met ...

Hermann(gives her a bundle). Here... this is for you.

Tanya(quickly deploys). Music! (She is holding a small toy music box painted in cheerful colors.) Listen, she's playing. (Turns the handle of the drawer - a gentle, melodic ringing is heard.) She's playing about us, Herman... Darling, Happy New Year...

Hermann. You too…

Hand in hand, they walk to the table.

Tanya. Wine?

Hermann(opens a bottle). Yes… Salkhino.

Tanya. What a name… Sal-hee-no! It looks like a trip! Today we will get drunk drunk with you, yes, Herman? And we will beat the dishes!

Hermann(pouring wine). This is an idea. (Raises a glass.) For you!

Tanya. For the future fifteenth of November.

Hermann. In one thousand nine hundred and thirty-five...

Tanya. At thirty-six...

Hermann. At thirty-eight! We will celebrate the fifth anniversary with you ... I wonder what will happen to us in the thirty-eighth? Don't know.

Tanya. And I don't know. After all, this will happen in four years, we will become old, old ... You will be twenty-eight, and I will be twenty-five. You will then become a famous designer.

Hermann. And you?

Tanya. And I... I will love you.

Hermann. Then for the fifteenth of November in the year one thousand nine hundred and thirty-eight!

Tanya. Hooray! One thousand nine hundred thirty-eight times - hooray!

Drink.

What did you do today?

Hermann. Was in the drug commissariat. Then in Glavzoloto. There is an abyss of people - Kazakhstanis, of course ... They scream terribly and threaten to fulfill the plan. The noise was incredible.

Tanya. Well, what about your business?

Hermann. The people's commissar has the drawings, so you understand for yourself ... We are just waiting for a decision.

Tanya. Are you a coward?

Hermann. It's clear.

Tanya. What a fool. Your dredge will be better! You will see!

Herman sighs.

Do you like soup?

Hermann(eating). Yes.

Tanya. Herman... and you... would you eat a cockroach if you could save me from death by doing so?

Hermann. I would have eaten ... Ugh! (Throws the spoon.) Well, what a stupid idea! Brr...

Tanya(pouring wine). For stupid thoughts! (Screamed.) Yes! After all, I didn't tell you the most important thing. (Mysteriously.) Today I almost got lost!

Hermann(laughing). In Sokolniki? Well, don't lie, don't lie.

Tanya(hot). Honestly! The weather is so light today for skiing, and I went far beyond the circle. You know, there is a real forest, quiet, not a soul, only birds, sky and snow. And suddenly I felt scared, it seemed to me that Moscow was far, far away - thousands of kilometers away, and I was somewhere in the north, and there were wolves, bears around ... Wow, how scared I was, I even roared with fear ... And suddenly I heard the noise of a tram - he walked a hundred paces from me.

Hermann(laughs). Coward! And you're not ashamed?

Tanya. Today is a stupid and happy day ... Give me a plate, I will bring the second. (Goes out into the corridor.)

Herman looks through the newspaper.

(Comes back from the kitchen, sets a plate for him.) Throw down the newspaper, you were told not to read during dinner!

Hermann. Today in Pravda there is a portrait of Maria Shamanova, director of one of the Yenisei mines. Awarded the Order of Lenin.

Tanya. Take another fork. You know her?

Hermann. Shamanov? No... But we talk a lot about it in Glavzolot.

Tanya. Well, you gold diggers are always praising each other. Show me! (Looks at newspaper.) Snub-nosed!

Hermann. Is it?

Tanya. Definitely snub-nosed. (Pours wine.) For the health of snub-nosed!

Hermann. And you're completely drunk, fool!

Tanya.

Kar! Kar! The raven began to singAnd jump on one leg.

Lunch is over. Dusya enters, clears the table. Herman lies down on the couch. Call.

Who is this? (Douse.) No, I myself, you have lunch, Dusenka. (Exits.)

Hermann. Dusya, have you seen the book? "Valuable Minerals" is called ... like this, in red binding.

Dusya(picks up dishes). And I read it, German Nikolaitch.

Hermann. Are you reading? But she's… special.

Dusya. That's it ... About the pebbles. Very interesting. I'll put it on the table as soon as I read it. (Exit with dishes.)

The play "Tanya" is a vivid example of how the perception and interpretation of a work of art can change over time as the public consciousness changes.

And Herman's passion, despite the difference in age, for the "business woman" Shamanova is a passion for the heroine of the time, independent, strong, strong-willed. Many critics recognized her as the true heroine of the play, while Tanya was condemned for her supposedly limited and narrow spiritual world.

Here is a typical interpretation of the content of Arbuzov's play in those years: "The play depicts the life path of a simple Soviet woman, her transformation from a housewife, living only for her husband, into a person who, after many years of suffering, managed to find ... her real place in life." The play certainly provides grounds for such a reading. But if you believe the testimonies of those who saw the first productions of "Tanya", in particular the famous performance at the Theater of the Revolution with the participation of M. Babanova, the audience always sympathized with this "thoughtless, slightly eccentric and love-absorbed" central heroine of the play, and from the very beginning of the action. “And the point here is not at all,” writes I. Vasilinina, “that in the finale of the play she became a doctor, a decisive and energetic person of business. This was somehow involuntarily forgotten. But more and more often it was remembered how talented Tanya knew how to love ... never there was no egoism, pride, calculation in her feeling. How much warmth, affection, charm, joy, fiction she brought into the life of her small family. "

There is some dissonance between the two parts of the play: the first is lyrical, subtle, with an exquisite psychological pattern; the second - with many events and people, a more direct, open text, a somewhat artificial denouement (Tanya makes her way through a snowstorm, as it turns out, precisely to the sick child of Herman and Shamanova; here, in the North, the former spouses meet, here, almost simultaneously, Tanya finds a new loved one). This artificiality is largely determined by the "geographical" factor: Arbuzov sent the heroes of many of his plays to "re-education" away from Moscow, usually to the North or to other "romantic", according to the ideas of that time, places. New meetings, new people, the feeling of being at the center of a common life saves Tanya from loneliness, in which, in fact, she has been from the very beginning of the play and which she was not burdened with (remember her lonely, but not at all painful evenings in the absence of Herman, she returns alone from a ski trip and does not even want to go out to her fellow students, she finds herself alone in the room and on the day of the reception). The tragic events that followed the scene of German and Shamanova's explanation intensify Tanya's internal isolation, which becomes almost a support for her. Ignatov immediately noticed this: "You probably believe that loneliness makes a person strong. Be afraid of this thought, it will lead you to selfishness." This warning reflects, of course, the position of the author, who always notices this state of his characters with alarm and strives to bring them out of their inner isolation, to give them a chance for true happiness.

Loneliness has firmly settled in the souls of very young heroes of the Cruel Intentions. Three boys from the capital - Kai, Nikita and Terenty - and the girl Nelya, who came from the provinces and failed the exams at the medical institute, immediately find a common language as soon as they talk about life in the family, about parents. This topic is a password that gives a pass to their society. All these "angry" young people feel deprived of parental participation, or even simply abandoned: Kai's mother works with her stepfather abroad, regularly sending money and gifts to her son, but he barely opens her letters; Nikita says this about his intelligent, energetic large family: "They doted on me if they had free time ... I didn’t cause a shadow of doubt in them, they were so busy with themselves." Terenty rudely chases his father, who now and then timidly appears on the threshold of Kai's apartment, because he cannot forgive him for drinking and considers him the culprit of his mother's early death. Nelya actually ran away from home: “From childhood, I wanted to be madly happy - that the weather was always good, and music always played, there were festivals and processions ... and that everyone around was kind and everyone was happy with each other. And they (parents. - THEM.) all crossed out, followed relentlessly". Largely justified (it is not without reason that all parents in Cruel Intentions address children with an apologetic, if not pleading intonation, clearly realizing their guilt before them), these claims of the younger generation also reveal selfishness, capricious, blind maximalism heroes of the play Unable to simply regret, let alone forgive, they pay close ones with harsh rejection, rude rejection, tear family ties, overcoming the pain of these breaks.

“When I wrote Cruel Intentions,” Arbuzov recalled, “I thought about this: we all stand on a small foothold, there is such a platform in the mountains when you climb to the very top, and you can stand there four, even five. make sudden movements so as not to push someone into the abyss. In essence, this is a figurative picture of our life. The pain from a careless movement, which you yourself sometimes do not notice, can bring death, moral or physical, to a person close to you. "

In the play, this idea is artistically embodied not only in Moscow scenes. From time to time the action is transferred to Siberia, where Misha lives and works, a relative of Kai, a man who adores his family, a romantic and a songwriter. For some time, his stories about Siberia (after all, it was there that the heroes of Arbuzov’s plays went to seek themselves and their happiness), about his beloved wife and newborn daughter, bring some light into the gloomy atmosphere of Kai’s large and empty apartment, but then it turns out that Misha's life is bursting at the seams. Geologist Masha, his wife, a strong-willed, energetic and purposeful woman, considers her child and husband an obstacle on her life path. "I'm a geologist," she proudly declares, "and everything else later." Forced to sit with her daughter, she considers herself a caged bird and is eager to be free. But the will turns into the loss of family, love (Misha dies) and, as the heroine understands tragically belatedly, happiness. In the last conversation with Nelya, who secretly took the child from Siberia to Moscow, believing that Masha did not need him, and at the same time, in order to experience Nikita's feelings (the games continue), Masha sums up the unhappy end of her life and warns the girl against repeating her mistakes: "That's all we play, we play, we can’t get enough of it ... At Tuzhka, she proved her own, but here (points to chest) something has gone silent. My dancing is over. Okay, live. Quit playing or you'll die."

The play "Tanya" is a vivid example of how the perception and interpretation of a work of art can change over time as the public consciousness changes.